St. Paul daily globe., 1887-10-23
THE VERNIs MARTIN PROCESS
How the Beautifully Decorated
French Furniture is Made.

I1O" IiO
French Furniture is Made.
Conspicuous among the fine French
furniture in the stores are the cabinets,
screens and other small articles with
painted figures and highly polished that
are made by the process known as the
vernis Martin. The recent revival of
this process in France has led to the re-
production of many fine original exam
pies of the period of Louis XIV, as well
as to new experiments. In Paris the
mania for knicknacks in pale shaded
and painted wood highly polished in
creaSeS daily, and it has naturally led to
many Improvements being introduced
in the various colorS and varniSheS used
for this method. Anyone fairly clever
with the brush can. without fear, at
tempt this artistic work. the mechanical
process of which can be divided roughly
into four parasitic preparation of the
wood, grounding, painting Of the sub
ject and vanishing.
Preparation of the Wood-Spread On
the white wood two coats of yellow me-
dunn. Be careful to let the first coating
dry perfectly before applying the next
one. When again the whole is quite
dry rub with fine emery paper to obtain
an even aid smooth surface ready to re-
ceiye wash of the Martin varniSh,"
which is brushed over the ground
twice, leaving also in this operation
due time between each wash to allow
the yarnish to get entirely dry between
each application.
Grounding-The groundwork is either
plain, red, green, blue or fanciful, viz,
sprinkled with gold, red and yellow.
For plain foundation of red. green or
h1I,n nrIinaru oil nnlnrC
with verniS Martin in rather thin or
liquid state, avoiding any slop Or Jumps;
however, rev artists prefer to employ
special powders mixed with essence and
an admixture of verniS Martin For
gold ground, brush over the foundation
a particular solution and two hours
afterwards begin the gliding operation
with gold leaf or gold powder, which is
in turn protected with a coat Of the
glossy varnish. To obtain shade of
old gold or fire color apply coating of
carmine and yellow lake diluted with
farnish. For the granite-like and
aventurine grounds strew some spangles
or powder over the second wash of var
niSh and for this time only sprinkle be-
fore the coat is completely dry; then, to
give polish, lay coat of yellow lake
| and vert de girls mixed with the bril-
| liant vernis Martin.
Subject.-The picture is painted with
ordinary Oil colors, rather thin and very
smooth. 1t usually represents shep-
herds and ShepherdesseS, flowers, fruit,
allegories in the lively and graceful
style peculiar to Vatican, Boucher,
Lancret, etc.
Varnish.-When the painting is
thoroughly dry apply successfully
| three, four and even five coats of this
celebrated varnish, never forgetting to
allow each layer to dry perfectly before
| beginning the next.
1t is doubtful whether this artistic
| pastime, or rather employment. will
ever become common. Itrequires great
care and a certain amount of time, for
the beauty and durability of the work
| depends above all on numberless coat
ingS of mediums and yarnishes, which
must be allowed to dry perfectly be-
tween each wash. and during this Slow
and tedious process no dust whatever
must fall OH the sticky ingredients, or
the work will be failure. The paint
Ing itself is really enclosed between two
crusts, represented by the layers OF the
glossy varnish applied before and after
the painting is done. Beginners in this
work will do well, therefore, to try their
skill on small tri1es in white wood,
such as tubs. milk stools, fans, rims of
| tambOurineS etc